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Memoirs of “The Stars” Exhibition MEMOIRS OF “THE STARS” EXHIBITION Text by Wang Keping The Stars Exhibition was initiated by Huang Rui and Ma Desheng. The official planning and preparation took place in late 1978. Zhong Acheng, Li Yongcun, Qu Leilei, and others joined. I joined later, eventually becoming a member as well. We were mostly young amateur artists passionate about art. We wanted to make something new, something that, as far as we were concerned, was modern art. Huang Rui worked in a leather goods factory and also as an art editor for the independent publication, Today. Ma Desheng made drawings in the research center of a machinery factory, often contributing illustrations to various publications. Zhong Acheng spent over ten years in the countryside under the Cultural Revolution’s reeducation campaign, and was one of the organizers of the major strike of 1978 involving the intellectual youth of the Yunnan Military Unit of Manufacturing and Construction. He had just been transferred back to Beijing and worked as an interim editor at the magazine World Book. His father was the eminent film critic, Zhong Dianfei. Li Yongcun, alias Bo Yun, had just been admitted to the graduate department of art history at the Central Academy of Fine Arts. He also served as a member of the editorial board at the independent publication Fertile Soil. Qu Leilei worked for China Central Television as a lighting engineer. Independent publications often featured his pen and ink drawings under the pen name “six stones”. His father was the renowned writer Qu Bo. I was in the theater company at China Central Television and published scripts in the independent publications Beijing’s Spring and Fertile Soil as well. (“Independent publication” refers to non–government sanctioned publications officially labeled “underground illegal mimeograph publication.”) The exhibition preparations were ready by the beginning of the summer of 1979. Huang Rui and Ma Desheng appealed to Liu Xun, the president of the Beijing Association of Artists, for the right to hold an exhibition. Liu Xun possessed the courage and knowledge of an astute and seasoned man. Branded a “rightist” in 1957, he spent ten years in jail. Having been through so much, Liu Xun was not easily fazed, and he was unafraid to show his support for a group of young people. Liu Xun went specifically to Huang Rui’s home to look at the works we had gathered and was very pleased, agreeing immediately to help us arrange an exhibition. The only thing was, the exhibition hall of the Beijing Association of Artists was already booked, so we would have to wait until the next year. Given the inotability of the political climate, everyone concurred that we could wait no longer, and if there Memoirs of the Stars Exhibition – wangkeping.com 1 were no other options, we would hold an outdoor exhibition. We set the date around the same time as National Day on October first. The location of the exhibition was difficult to choose. There were three options: first, the Xidan Democracy Wall; second, the Old Summer Palace (Yuanmingyuan) on the west side; third, in front of the Fuxingmen Broadcast Building (since Qu Leilei and I worked there, we would be able to help with coordinating). All three locations were less than ideal. One day, we arranged to meet to see an exhibition at the National Art Museum of China. Unexpectedly, we discovered a little garden on the east side of the museum, and decided on the spot to hold the exhibition there. In order to prevent any governmental interference, we kept it a secret for the time being. The National Art Museumof China is located in the heart of Beijing. On the east side is a small garden at a busy intersection with non–stop automobile and pedestrian traffic all day long. It was the perfect spot for creating a disturbance. I rode by everyday, inspecting every detail of the iron railings on the east wall of the museum, imagining the exhibition arrangements and thinking about how I could hang up my sculptures. Mid–September, the weather started to cool down. One day, I suddenly discovered that the place we were going to hold the exhibition had been surrounded by a rope. Over ten workers were uprooting the turf under the iron railing. I immediately notified Huang Rui and Ma Desheng. Together, we hurried to the little garden. Watching the workers labor slowly, we realized that information about our plans had been divulged, and the officials reacted by blocking off the wall. We had no choice but to find another location. But identifying another site such as this one to hang art for an exhibition in a city as densely populated as Beijing was no easy task. Little did we know, it was only a false alarm. As National Day neared, they sped up the construction work precisely on the corner plot of land we planned to hold the exhibition. They laid a neat layer of cement grid brick. On the evening of September 25th, the participating artists convened a meeting at Huang Rui’s home to resolve specific items about the exhibition. The exhibition date was set from September 27th to 30th, concurrent with the opening of “National Art Exhibition for the 30th Anniversary of the Founding of the People’s Republic of China” being held at the museum. Transportation was a major problem. Huang Rui said that he could contact a truck and have it pick up drawings from his home on the morning of the 27th and then come to my house to pick up my sculptures. After the meeting, we distributed mimeographed invitations and posters we had drawn ourselves. On the morning of September 26th, Yan Li and I rode to Haidian District to hang posters at the Exhibition Center, People’s University, Peking University, Beijing Normal University, along the entire road. Yan Li was among the younger members of The Stars, and was also a published poet whose work could be read in independent publications. At night, I started to pack up my sculptures. Big and small, there were twenty–nine in all. The political works included Silence, Pillar of Society (An eye without a pupil, a nose without nostrils, a mouth without an opening, a head without a brain), Chain, Scar, Self Portrait, Gun (Jiang Qing), Long Live the Great Helmsman, Hold High, Hypocrisy, Breathing, Faithful (Dog). Idol (“Portrait of Mao) was also an early work, but everyone thought it was better not to include it. By the time I arranged everything in order, it was already late and just as I was about to go to bed, Huang Rui suddenly scurried up the stairs furtively, saying, “The truck for tomorrow morning has been screw up, the driver was afraid of trouble. I contacted another driver, but he can only come at night.” Huang Rui and I made trip after Memoirs of the Stars Exhibition – wangkeping.com 2 trip to move the sculptures from the fourth floor to the truck. When we arrived at the middle school attached to the Academy on the east side of the street the museum was located on, again we had to make sevreal trips to move the paintings and sculptures to a friend’s third story dormitory room. This man was also very anxious, and would only agree to keep them for one night. I had a colleague who lived in an old apartment across from the museum and said we could store the works in his home each night, but later he went back on his word. Someone told Huang Rui that the Xidan Democracy Wall–the most important location–didn’t have a single Stars Exhibition poster. The people he sent were unreliable and were too scared to post them there. This may have been a good thing, leaving the relevant authorities one step behind our plans. September 27th, 1979 was the first day of The Stars Exhibition. At seven in the morning, we gathered at the high school attached to the Central Academy to move the paintings and sculptures. We started to hang the works in the little garden by the east side of the museum on the iron railings along the wall. We finished arranging everything at 8:20. The 150 works by 23 artists that hung neatly across 40 meters of iron railing included oil paintings, ink paintings, woodblock prints, and wooden sculptures. Some of the large sculptures were placed on the ground and some paintings were hung from trees. The poets of Today composed some short accompanying poems that were also arranged next to the paintings. The small exhibition space inspired a new found feeling of freedom and joy in us all. The subject matter of the exhibited works and the way they were presented showed an intense sense of rebellion. The crowds grew quickly. Friends from the April Photographic Society were busy shooting photographs and filming movies. Students from the high school attached to the Central Academy of Fine Arts ran over during their breaks, observing and sketching the works. Quite a few famous literary and art figures attended with great enthusiasm. Everyone praised the liberating exhibition method and was astonished with the quality of the art. Jiang Feng, president of the National Association of Artists and director of the Central Academy of Fine Arts attended. After viewing the exhibition, he offered his immediate endorsement, saying, “It is really an excellent idea to have outdoor exhibition. Exhibitions can take place within museum walls, just as they can take place outside museum walls; art academies can produce artists, just as the outside world can produce artists.” Jiang Feng was an honest man.
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